김해송 - Kim Hae-Song / 金海松, 金山松夫, Matsuo Kanayama, 김송규, 金松奎, Kim Song-gyu

V.A. - 유성기로 듣던 불멸의 명가수 (23CD Box Set) CD8

True favourites; 8. 올팡갈팡 / olpang-galpang, 12. 청춘(靑春) 삘딩 / Youth springing ("good morning"-song)

To my amazement I found out that in Korea from the 30s/40s, it wasn’t only the preceding style of Trot that had been recorded. The recordings of Kim Hae-Song show a lot more cabaret, influences in old time jazz, and influences from American broadway film music, which shows another interesting and expressive aspect of music from those days.

* Track 1 still is in pre-trot style (clarinet led, with accordion, string combo), while the second track already shows more clever arrangements via the old time jazz influence and a different form of movie-related song, with solos with banjo, a bit of whistling, a happy expression.

* The fourth track hangs in between old time jazz and the pre-trot influences.

* The fifth track has a small Hawaiian guitar theme, in this case interprets in a very original and unique old time-music related way a Korean traditional, with much more group responses compared to other songs, and more typical for Korea’s nature of seeing things of importance.

* Also the 7th track interprets a Korean traditional with the old time combo and singers approach of arrangements, again this is expressed with several singers. Both tracks show a unique moment for Korean music recording.

* Another even more unique moment was the 8th track with a fresh original arrangement (violin, wooden block led / trumpet) of song with instrumental repetitions of the rhythmical song theme, which is sung by two singers (male/female) responding.

* More jazz influence can be heard in the next track (horns, piano, percussion, Hawaiian guitar). It’s song could fit well in a broadway movie. The track after that is a bit more worked out instrumentally in that same old time jazz context.

* The 11th track is led by acoustic picking (with some violin), in Japanese pre-enka style. A song which I think is made for a movie is with musical-alike and a simple feel-happy sort of singing in different voices, in which we hear English words like “hello” and "good morning” and some arrangements made by banjo besides horns. The next song is more or less in the same vein.

* The next song, with just one solo voice and small combo also still fits with that, in a very much a storytelling way and with a caravan rhythm mixed with pre-trot, old time jazz and a touch of broadway.

* The 15th track is a nicely arranged boogying/swing step-dance track / a song with a jazz touch, something I also did not expect to have been recorded in Korea in those days. Also the next few tracks still fit with the same era and entertainment form of styles, tracks with one solo lead voice.

* Track 18 is guitar/violin in pre-trot style again, with a slight sadness of the violin and song. Last track turns again to something more up tempo and a swinging happy song.

1. 청춘은 물결인가 / Is youth a wave? (1936) 2. 서울 / Seoul 3. 설음의 벌판 / Seoul's Field 4. 불멸의 눈물 / Immortal Tears 5. 단풍제 / Maple Festival 6. 감격의 그날 / The day of emotion 7. 천리춘색 / Chunlyon Colour * 8. 올팡갈팡 / Olfang Galfang 9. 연애함대 / Love Fleet 10. 밀월의 코스 / The course of wheat 11. 내 채쭉에 내가 맞었오 / I was beaten up * 12. 청춘삘딩 / Youth Funding 13. 풍차가 도는 고향 / Hometown where windmill turns 14. 꽃피는 녹지 / Flowering greenery * 15. 청춘계급 / Youth class 16. 모던 기생 점고 / Modern lowlife heights * 17. 개고기 주사 / Dog Meat Injection 18. 방랑곡 / Wanderlust * 19. 희망의 썰매 / Sled of Hope

Tracks with * I consider the essential listens, tracks that will also work in a western radioshow.

유성기로 듣던 일제시대 풍자 해학송 /

The satire of Japanese imperialists heard during the Meteor period

* 1 선술집 풍경 / Tavern Scenery (1938)

2 개고기 주사 / Dog Meat Injections (1938)

5 팔도 장타령 / Paldo Changtayeong

* 8 모던 기생점고 / Modern lowlife store ("bycicle song")

* 11 시큰둥 야시 / Xi'an Dong Yashi

with 남일연 / Nam, Il-Hyun

"Very funny it is when we hear the singer clearly expressing a drunk, expressing some extra sound only a drunk expresses, by 김해송/ Kim Hae-Song. After a second strong one by the same artist we also have a duet in dialogue and harmony singing, sung in in Japanese-like style. Great it is when instrumental improvisations are alternating such songs and some clear jazz influence is noted in it. The jazz is clearly present in the next couple of tracks". ... "Nice to recognize is the sound of a bicycle bell incorporated in the next song by 김해송/ Kim Hae-Song. A recurrent pleasant element in it are humouristic laughs."

유성기로 듣던 가요사 (1925~1945) [Disc 3]

Tr.13 청춘(靑春)은 물결인가 / Is youth a wave? (1936)

This is a somewhat waltzing and not so unusual old styled trot song despite a very small jazz influence. The recording has some surface noise and sounds like a recording directly taken from a phonograph source.

유성기로 듣던 가요사 (1925~1945) [Disc 4]

* Tr.9 천리춘색(千里春色) / Chunlyon Colour (1937)

(with 이은파 / Lee Eun-Pa)

This sounds like a Korean Arrirang traditional sung with duo vocals and interpreted with a somewhat more jazz-like arrangement. The recording sound has surface noise. It is not as special as it sound, suffering from its sound quality too.

유성기로 듣던 가요사 (1925~1945) [Disc 5]

16 봄사건 / Spring event (1938)

(with 박향림 / Park Hyang-Rim)

This is a Japanese sounding old trot mixed with the style of a musical-like duet of jazzy cabaret. It pretty much defines the era.

유성기로 듣던 가요사 (1925~1945) [Disc 7]

* 6 남무아비타불(南無阿彌陀佛) / Nami Amitabha (1939)

This is a jazz song in early 40s style with a few foot stomping parts and rather satirical sounding, and entertaining and rather rhythmically singing voice. It has also a coupe of small drum accents in it and a few sax with brass solos. This is one of the rare pure jazz styled Korea songs of these days.

유성기로 듣던 북(北)으로 간 가수들 / Singers that went to North Korea

* 4 빛나는 수평선 / Glowing horizon

* 5 풍차 도는 고향 / Windmill

* 6 꽃 피는 녹지 / Flowering greenery

7 내 채쭉에 내가 맞었소 / I was hit by my stalk

* 8 청춘계급 / Youth class

The first track, “Glowing Horizon” is a happy 30s styled jazz-related cabaret-like song with “lalalala”-singing backing vocalists. “Windmill” has an oriental /Persian fantasy rhythm and clarinet and is very entertaining as a song too and with banjo-like parts. It has some fit-funny harmony singing in it too. Also great (in fact briliant) for its rhythmic and clarinet/flute/rhythmical arrangements and fitting completely to the previous song is this “Folowering Greeny.” The next track “I was hit by my stalk” is a Japanese-sounding trot song with guitar/flute/violin mostly and is less unusual. “Youth class” is a real jazz-styled song with a clacking foot stomping rhythm.

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BIOGRAPHIES:

Rough translation of the Korean Wikipedia page:

°1910-1950.Composer/ singer songwriter/singer. Category : trot. Active from : 1935-1950

Hits/highlights : “Leaving ferry” 1937, “Stagecoach” 1941, “Mumyeongcho the port” 1939, “Cosmic sigh” 1939, “Café’s Blue Dream” 1939, “Home set” 1942, “Cry la munpungji” 1940, “Hwaryu chunmong” 1940, “Dock” 1941, “Cry la eunbangul” 1948

He was born and grew up in South Phyongan. He studied mathematics of at the Higher Normal School and College at Pyongyang. From the start he showed a great talent in music. He had played guitar since school days. He showed great talent as composer, singer and arranger, a talent which further developed during the mid-1930s. He was known as a "genius of jazz" by introducing jazz music to Korea. His debut as singe-songriter/composer was with the jajakgok's Orchestra in 1935. Since 1940 he worked as singer with the stage name Kim Hae-Song mainly while using the Kim Song-Gyu name as a composer. His style of music was unusual at the time, incorporating elements from swing and jazz and blues, while being acquainted very well in Western popular music. His stage production was outstanding as well.

After liberation from the Japanese occupation, he formed his musical activities around the American base where he further continued to adapt and stage more musical genres crossing opera music and popular music for which he became elected as the first president of the Music’s Association. It was there where he staged the operas of "Turandot" (1948), "Carmen Fantasy" (1949), "Romeo and Juliet" (1950), etc.

During the Korean War it seemed that he was kidnapped and shot.

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http://www.koreafilm.or.kr/webzine/section_view.asp?Section=1&UpSeq=&downSeq=2525&intGroupNum=14 :

1940년을 전후한 무렵 조선 대중문화계의 이모저모를 실감나게 그린 <반도의 봄>(1941년 개봉)과 한국영화사 최초의 국제영화제 수상작인 <시집가는 날>(1956년 개봉)을 연출한 이병일(李炳逸) 감독. 그의 이력을 훑다보면 다소 뜻밖의 사실 하나가 눈에 띈다. 대표작으로 통상 거론되는 위의 두 영화 사이에 다른 연출작이 공식적으로 보이지 않는다는 것이다. 하기야 그 15년 동안에는 일제강점기 말기의 가혹한 통제, 광복과 분단의 혼란, 전쟁으로 인한 피폐 등으로 영화 제작 여건 자체가 썩 좋지 않기도 했고, 이병일 감독 자신이 1948년부터 1954년까지 한국을 떠나 미국과 일본에 체류한 사정도 있었으므로, 작품 활동을 제대로 할 수 없었을 것이라 짐작해볼 수는 있다. 하지만 과연 그 사이 이병일의 영화는 정말 단 한 편도 없었던 것일까? 다른 영화감독들과 마찬가지로 이병일 또한 광복 이후 새로운 영화를 찍고자 하는 바람을 물론 가지고 있었다. 그리고 실제 행동에 나서기도 했다. 1948년 연초 촬영에 착수했다는 <비창(悲愴)>이 바로 이병일 감독의 신작이 될 뻔했던 작품이다. 그러나 시작 기록만 있고 완성과 개봉 기록이 없는 <비창>은 결국 이병일의 필모그래피에 오르지 못하는 미완의 작품으로 사라진 듯하다. 사실 미완성 <비창>을 굳이 거론하지 않더라도 <반도의 봄>과 <시집가는 날> 사이의 공백을 메우는 이병일 감독의 숨은 작품은 그리 어렵지 않게 확인할 수 있다. 다만 쉽게 확인되는 사실을 공식적으로 인정하기는 그리 쉽지 않았을 것이다. 동시대 다른 여러 영화감독들과 마찬가지로 이병일 또한 광복 이전 일본제국의 선전영화를 몇 편 연출했기 때문이다. 1943년작 <반도의 처녀들>과 1944년작 <적기(敵機)는 또 온다>가 신문 기사를 통해 확인되는 작품인데, 전자는 ‘학창에서나 직장에서나 농촌에 있어서나 꿋꿋이 총후(銃後)를 지키는’ 반도의 처녀들을 영상화한 것이고, 기획 단계의 소식까지만 볼 수 있는 후자는 제목에서 짐작할 수 있듯이 방공(防空) 의식 고취를 위한 선전영화였다. 음악으로 남은 영화 <반도의 처녀들>이든 <적기는 또 온다>이든 필름이 남아 있지 않아 볼 수 없기는 매한가지이나, <반도의 처녀들>은 관련 음악 자료를 통해 내용을 어느 정도는 짐작할 수 있다. 1943년 1월에 발표된 신곡을 홍보하기 위해 오케(Okeh)레코드에서 제작한 선전용 소책자에는 영화 <반도의 처녀들(半島の乙女達)>의 주제가인 ‘반도의 처녀들’과 ‘목화를 따며’를 소개하는 대목이 있는데, 이를 통해 영화 <반도의 처녀들>이 이병일 연출, 김학성(金學成) 촬영(소책자에는 창씨명 가나이 세이이치(金井成一)로 기록되어 있다), 김해송(金海松) 음악으로 제작되었다는 것과 영화에 경성제일고녀(高女)•동덕(同德)고녀•경성여자실업학교 여학생들이 출연하고 오케레코드 관련 공연 단체인 조선악극단이 특별출연했다는 것을 알 수 있다. 소책자에 수록된 사진에는 배구 경기를 하고 있는, 건강한 신체를 단련하고 있는 여학생들(아마도 경성제일고녀나 동덕고녀 학생들일 것이다)의 모습이 있고, 주제가 ‘목화를 따며’ 가사에는 직물 생산에 중요한 자원인 목화를 수확하는 정경이 묘사되어 있다. 바로 신문 기사에 소개된 대로 학창과 농촌에서 꿋꿋이 총후, 즉 후방을 지키는 조선 여성들의 모습이다. 아마도 직장에 해당하는 장면은 경성여자실업학교 여학생들이 담당했을 것이다. 일본에서 간행된 영화 잡지 <日本映畵>에도 ‘문화영화’ <반도의 처녀들>에 관한 간단한 언급이 있는데, “여학교, 공장, 농촌에서 발랄하게 싸우는 반도의 젊은 여성 군상을 묘사한 음악영화”라는 표현이 보인다. 같은 기사에서 같은 해 개봉된 ‘극영화’로 소개한 <조선해협>이나 <젊은 모습(若き姿)>이 11권 분량(상영 시간으로는 80분 전후)인 것에 비해 <반도의 처녀들>은 비교적 짧은 2권짜리로 기록되어 있기도 하다. 관련 기록을 종합해보면, <반도의 처녀들>은 아마도 특별한 줄거리 없이 간단한 스케치와 음악 중심으로 연출된 단편영화이지 싶다. 그러고 보면 영화음악을 담당한, 그리고 주제가 두 곡을 작곡한 김해송의 존재, 그리고 김해송이 주요 멤버로 활동했던 조선악극단의 특별출연을 새삼 주목하지 않을 수 없다. 더구나 오케레코드 소책자에서는 주제가 두 곡이 ‘공전(空前)의 교향악 편성’이라고 홍보하고 있기도 하니, <반도의 처녀들>은 영화 자체로는 단편 선전영화라 특별할 것이 없다 해도 음악 면에서는 의외로 상당히 풍성한 작품이었을 수도 있다. 김해송과 조선악극단 관련 영화로는 앞서 <영화천국> 지면에서 소개한 바 있는 <그대와 나>(1941년 개봉)가 있기도 한데, 조선악극단과 K.P.K악단 활동을 통해 당대 무대음악의 천재로 인정받았던 김해송의 음악적 면모를 좀 더 보기 위해서는 역시 <반도의 처녀들> 발굴이 필요할 듯하다. 이미 오래전 저승으로 간 이병일 감독도 이제는 굳이 숨기려 하지 않을 것이다.

by 이준희(대중음악비평가) | 2012-11-28or

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Partial Translation:

In Japan's film magazine 日本映畵, there is a brief mention of 'cultural films' and also about 'the virgins of the peninsula'. The expression "The Virgins of the Peninsula" contains of 11 volumes (with around 80 minutes of screening time) which were introduced in the same film in the same year. One has written about it in two short books.

"The Virgins of the Peninsula" are short films directed around simple sketches and with music without a special plot. In that sense, we can't help but pay attention to the existence of Kim Hae-song, who was in charge of the film music, who composed the two songs, and the special appearance of the Korean troupe/band in which Kim Hae-song played as a major member. In addition, the O'Record booklet promotes the theme song as "a symphony of orbit," in which the "Virgins of the Peninsula" are like short promotional films.

Gimhae Song and Chosun Orchestra related films include songs like "You and Me" (released in 1941), which was previously introduced in the film The Kingdom of Heaven. In order to see more of the musical aspect of the Korean Peninsula, it may be necessary to find out.

by Lee Jun-hee (Pop Music Critic)

See also the movie stars at http://musicology.co.kr/?p=2123

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http://www.culturecontent.com/content/contentView.do?content_id=cp090300220001

오케레코드와 조선악극단 / 김해송(金海彸). 1911~1950(?)

가수․작곡가. 평안남도 개천에서 태어났다. 본명은 김송규(金松奎)이며, 주로 사용한 예명 김해송 외에 김수월(金水月), 우미하라 마쓰오(海原松男)라는 예명을 드물게 쓰기도 했다. 창씨개명한 이름은 고바야시 히사오(小林久男)이며, 일본에서 발매된 음반에는 마쓰미 토시오(松海敏夫)로 표기된 경우도 있다. 1933년에 평양 광성(光成)고등보통학교를 졸업했으며, 그밖에 공주사범학교, 숭실전문학교, 일본 조치(上智)대학을 다녔다는 설도 있으나 사실 여부를 확인할 수는 없다. 1933년 졸업 이후 행적과 음악을 익힌 경로는 분명치 않으나, 악단에서 연주 활동을 했던 것으로 보인다.

1935년 3월부터 오케(Okeh)연주단에 참여하여 기타와 하와이안기타를 연주했다. 1935년 가을에 정식으로 오케레코드에 입사하여 자작곡 <항구의 서정>을 11월 신보로 발표하면서 가수 겸 작곡가로 활동하기 시작했다. 1936년 12월 크리스마스이브에는 오케레코드에서 같이 활동하던 가수 이난영(李蘭影)과 서울의 유명 음식점인 식도원(食道園)에서 결혼했다. 1938년에 잠시 빅타(Victor)레코드로 전속을 옮겼다가, 곧 이어 콜럼비아(Columbia)레코드로 다시 옮겨 1939년 상반기까지 활동했다.

이후 부인 이난영이 부른 <다방의 푸른 꿈>을 복귀작으로 해서 오케레코드로 돌아왔고, 복귀한 뒤로는 주로 작곡가로 활동했다. 음반을 통해 작품을 발표하는 동시에 조선악극단 소속으로 무대 공연에도 활발하게 참여하여, 박시춘(朴是春)·이복본(李福本)·송희선(宋熙善) 등과 함께 남성보컬팀 아리랑보이즈의 일원으로 직접 무대에 서기도 하고, 악극을 비롯한 다양한 공연에서 작곡이나 편곡을 담당했다. 1943년 말부터 1945년까지는 부인 이난영 등과 함께 약초(若草)가극단으로 소속을 옮겨 활동했고, 광복 직전인 1945년 8월에는 새로 창립된 만타(萬朶)악극단에 참여하기도 했다.

김해송이 가수로서 발표한 대표적인 작품은 <우리 둘은 젊은이>, <첫사랑>(이상 1936년), <천리춘색>, <라쿠카라차>(이상 1937년), <전화일기>, <내 채찍에 내가 맞았소>, <명랑한 양주>, <청춘계급>, <개고기 주사>(이상 1938년), <나무아미타불>(1939년), <빛나는 수평선>(1940년) 등이며, 작곡가로서는 <첫사랑>, <알아 달라우요>(이상 1936년), <연락선은 떠난다>, <천리춘색>, <고향은 부른다>, <요 핑계 조 핑계>(이상 1937년), <전화일기>, <내 채찍에 내가 맞았소>, <명랑한 양주>, <청춘계급>, <선창에 울러 왔다>, <개고기 주사>, <오빠는 풍각쟁이>(이상 1938년), <나무아미타불>, <다방의 푸른 꿈>, <코스모스 탄식>, <뒤져 본 사진첩>(이상 1939년), <울어라 문풍지>, <흘겨본 과거몽>, <화류춘몽>, <화륜선아 가거라>, <불어라 쌍고동>, <잘있거라 단발령>(이상 1940년), <역마차>, <요즈음 찻집>, <선창>(이상 1941년), <낙화삼천>, <경기 나그네>, <목화를 따며>(이상 1942년), <어머님 안심하소서>(1943년) 등이 대표작이다. 가수로서는 80곡 이상, 작곡가로서는 190곡 이상 발표한 것으로 확인되며, 그 가운데 <전화일기>, <사나이 걷는 길>, <구곡간장>(이상 1938년)은 ‘치안방해’ 등의 이유로 판매 금지, 가두 연주 금지 처분을 받기도 했다.

광복 직후인 1945년 8월에는 조선문화건설중앙협의회에 참여했고, 그해 12월에는 직접 K.P.K악단을 조직하여 당대를 대표하는 독보적인 악극단으로 발전시켰다. K.P.K악단은 1950년 6․25 발발 직전까지 <물레방아>(1946년), <천국과 지옥>, <남남북녀>, <이소랑전>(이상 1947년), <아라리아의 노래>(1948년), <육탄 십용사>, <도란도도>(이상 1949년), <칼멘환상곡>, <로미오와 줄리엣>, <자매와 수병>(이상 1950년) 등 대규모 악극을 공연했다. 1947년 8월에 결성된 대중음악협회에서 회장으로 선출되었고, 이어 11월에 결성된 전국가극협회에서는 작곡위원을 맡았다. 1947년 8월 이후 음반 생산이 재개되자 고려(高麗)레코드, 오케레코드, 럭키(Lucky)레코드, 아세아(Asia)레코드 등에서 <흘러온 남매>(1947년), <울어라 은방울>(1948년), <백팔염주>, <선죽교>, <약산 진달래>(이상 1949년), <저무는 충무로>(1950년) 등을 작곡, 발표했다.

6․25전쟁 발발 당시 피난을 가지 않고 있다가 북한군에게 체포되었고, 이후 북한군이 서울에서 퇴각할 때 북으로 끌려가는 도중 폭격을 맞아 사망한 것으로 전한다. 북한에서는 자진해서 입북한 뒤 지병인 폐결핵에 폭격으로 인한 부상이 겹쳐 사망했다고 쓰고 있으나, 그가 폐결핵을 앓았다는 기록은 다른 곳에서 찾아 볼 수 없다.

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Oka Records and the Korean Troupe / Kim Hae Song (金海彸). 1911-1950 (?)

Kim Hae-Song was a singer / songwriter, born in Gaecheon, South Pyongan Province. His real name is Kim Song-gyu, and his other used names are Kim Soo-wol and Umihara Matsuo. Chang renamed his name, Kobayashi Hisao, and some of the albums released in Japan are sometimes referred to him as Matsumi Toshio. In 1933, he graduated from Pyongyang Gwangseong High School, and he also attended Gongju Normal School, Soongsil College, and Japan Chuchi University. The path of learning and music after graduating in 1933 is not clear, but it seems he has been playing in the orchestra.

Since March 1935, he has participated in the Okeh group, playing guitar and Hawaiian guitar. In the fall of 1935, he formally joined O'Record and began his career as a singer and composer, releasing his song "Lyrics of the Port" in November of 1935. On Christmas Eve, December 1936, he married singer, Lee Nan-young (李 에서 影), who had been working with the Ore Records at Edowon, a famous restaurant in Seoul. In 1938 he transferred towards Victor Record for a short time and then moved back to Columbia Records until the first half of 1939.

Later, he returned to O'Record with the remake of his "Blue Dreams", which was sung by his wife Lee Nan-young. After his return, he worked mainly as a composer. At the same time, he presented his works through the album and actively participated in stage performances as a member of the Chosun Orchestra. He has also worked on compositions and arrangements for various performances including musical plays. From late 1943 to 1945, he moved to the herbalist (?) troupe with his wife, Lee Young-young, and participated in the newly-established Manta Orchestra in August 1945, just before the liberation.

Kim Hae-song presented as a singer <The Two of Youth>, <First Love> (around 1936), <Chun Li Chun Saek>, <Rakukara Tea> (around 1937), <Telephone Diary>, He was right>, <the bright liquor>, <the youth class>, <the dog meat injection> (after 1938), <wood amitabha> (1939), <the shining horizon> (1940). I Know More (1936), Contact Leaves, Cheon Li-Chun, Hometown Calls, Excuse Joe's Excuse (1937), Phone Diary, My Whip I It was right>, <the bright liquor>, <the youth class>, <the dog rang in the dock>, <the dog meat injection>, <brother's carpenter> (around 1938), <wood amitabha>, <the blue dream of the coffee shop>, <Cosmos lamentation>, <Photobook to look down> (around 1939), <Crying Moongungji>, <Sweeping Past Dreams>, <Hwacheon Chun-mong>, <Hwa-hwa-sun>, <Sweet Ssang-dong-dong> Dandelion (around 1940), Stagecoach, and these days Home>, <Dock> (after 1941), "Three thousand Ground - nut," "Match alien," "ttamyeo cotton> (after 1942)," Let my mother rest assured "(1943) is a masterpiece like. It has been confirmed that more than 80 songs by singers and more than 190 songs by composers have been released. Among them, <Telephone Diary>, <Walking Man>, and <Gokgok Soy Sauce> (1938) are prohibited from selling for reasons such as 'policy'. He was also banned from playing streets.

In August 1945, shortly after independence, he participated in the National Council for the Construction of the Chosun Cultural Construction. Until the outbreak of June 25 in 1950, the KPK Orchestra released <The Watermill> (1946), <Heaven and Hell>, <North and South Korea>, <Isorangjeon> (1947), and <Song of Araria> (1948). He has performed large-scale plays such as the Helms of the Coal, Dorando (1949), Carmen Fantasia, Romeo and Juliet, and Sisters and Soldiers (1950). He was elected chairman of the Popular Music Association, formed in August 1947, and then composed by the National Opera Association, which was formed in November. After the production of the album resumed after August 1947, <Sisters and Brothers> (1947), <Crying Silver Drops> (1948), from Goryeo Records, Oke Records, Lucky Records, and Asia Records He has composed and published Baekpal Rosary, Seonjukkyo, Yaksan Azalea (more than 1949), and Choongmu-ro (1950).

He was arrested by North Korean troops without asking refuge at the outbreak of the Korean War, and was later killed by bombings when North Korean troops retreated from Seoul. In North Korea, after the voluntary entry into North Korea, bombing injuries caused a lung disease, but there are no records of him suffering from tuberculosis.

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Yongwoo Lee (2010) from "Embedded Voices In Between Empires"

"A young American journalist and financial editor affiliated with the English newspaper company the Japan Advertiser, Burton Crane recorded several jazz songs on the Columbia record label between 1931 to 1934 in Japan.55 During the regime of L.H. White, the American owner of the Columbia Company‘s department in Japan who also rapidly expanded the music industry in colonial metropolitan Gyeongseong, Crane released his own songs, including titles such as ―Sakega nomittai‖ (I want to drink some liquor) and ―Ieekaeritai‖ (I want to go back home), which gained an enormous popularity in Japan. Sagawa Akiraku recollected that, ―in every corner of Ginza area, you can hear this song‖56 and Enomoto Kenichi remembered, ―you can hear the song to songs of Crane when the bar and café is closed, and you‘re hopping around groggeries grabbing some cocktail with Odeng (fish cake) in Ginza and Asakusa area.

The majority of Crane‘s recordings were reminiscent of popular American jazz songs in style, with comical lyrics written by Crane himself. Although he wasn‘t fluent in Japanese, his slow and awkward Japanese pronunciation and exultant vocal style interested the Japanese, resulting in a series of big hits in mainland Japan, made possible by the rampant commercialism of Columbia‘s smart jazz business establishment.58 There are no historiographical materials documenting the context of Burton Crane‘s jazz songs released in colonial Korea during mid-1930s, however considering the popularity of jazz in Korea and the considerable volumes of local phonographs labelled as jazz (I investigated the popular song lyrics from remained music sheets in 1930s, and only 43 songs were labelled its genre as ―jazz song. (Victor 1, Polydor 3, Okeh 6, Columbia 24, Regal 8, Cieron 1) However, jazz song was broadly considered among Koreans as a western style popular song, which most of Yuhaengga (popular song in Korean) can be embraced within the genre. such as ―Iteri jeonwon‖ (Italian Garden, Columbia Records, performed by Choi Seong-Hee), ―Burusu cheonggong‖ (Blues Blue Sky, Okeh Records, performed by Kim Hae-song) and ―Urineun meotjengyi‖ (We are the dandies, Columbia Records, performed by Pak Hyang-Rim), jazz songs like Crane‘s could have been released due to the huge popularity of jazz as modern culture in colonial Korea. The jazz song ―Suljujeonbengyi‖ (Drink last night!) was a Korean cover version of the Japanese hit number ―Sakega nomittai,‖ (I want to drink some liquor) which is a Japanese localization of American jazz song. The escapist tendency in song lyrics like ―drunk last night, drunk the night before, gonna get drunk tonight‖ reflect the social mood and an atmosphere of nihilism and pessimism regarding colonial circumstances, ironically narrated by an amateur American singer with awkward Korean pronunciation."

"The gradually rising popularity of radio also helped to disseminate jazz music throughout colonial Korea in the mid-1930s (see Appendix 2). As early as 1931, the KPK band of Kim Hae-Song, whose repertoires included a smattering of jazz numbers, first began to be played on the radio. But Korean musicians were, with few exceptions, largely excluded from performing on early commercial radio. According to Chogwang magazine in 1936, radio programming consisted of playing music, entertainment (radio drama, radio novel, radio poem) and gossip news (talk about movie stars, humorous stories), education (national physical exercises -Gukminchejo, cooking method), and newscast. Korean music was usually divided between popular music (western and Korean popular songs) and traditional Korean music such as Pansori or Japga."

The idea of indigenous jazz songs was complex in several respects. First, the Korean singers‘ vocalization is reminiscent of Japanese singers‘ mimicking American jazz singers such as Rudy Vallée, Bing Crosby and Frank Sinatra; these were filtered through Japanese performers such as the Calua Mamainasu Band and Columbia Nagano rizumu boyz, who in turn influenced the jazz vocal styles of Korean singers such as Nam In-Soo, Chae Gyu-Yeop and Kim Hae-Song. Secondly, the majority of the song lyrics were also overflowing with expressions of emotion, using excessive exclamation (Oh! Ah!) to express self-indulgent tendencies. Thirdly, the jazz songs often overused ―modern‖ English as buzzwords, particularly in songs such as ―Sarangui rangdebu‖ (Rendezvous of Love, performed by Chae Gyu-Yeop), ―Dinah‖ (Diana, performed by Kang Hong-Sik and Ahn Myeong- Ock), „Sarangeui Yoreitie (Yodel Song of Love, the first yodeling song in Korea, sung by Chae Gyu-Yeop)83 and Neonui Paradaisu (Paradise of Neon sign, performed by Yu Jong-Sup).

Korean jazz songs and Yuhaengga had to be modeled on westernized Japanese music, with its notation, composers, compositions and instrumental arrangements. Notably, many Japanese arrangers were engaged in the production and arrangement of many Korean jazz songs, such as ―Okuyama Teikichi‖ (奧山貞吉) of ―Sarangeui Yoreitie‖ (Yodel song of Love, performed by Chae Gyu-Yeop), ―Jeulgeun naesalim‖ (Happy Housekeeping, performed by Kwon Young-Geol), ―Seoul Myeonmul‖ (Special Products from Seoul, performed by Kang Hong-Sik), ―Sugita Ryozo‖ (衫田良造) of ―Sarangeui Rangdebu‖ (Rendezvous of Love, performed by Chae Gyu-Yeop), ―Hattori Ichiro‖ (服部逸郞) of ―Dainah‖ (Diana performed by Kang Hong-Sik and Ahn Meong-Ok), ―Yukwehan Sigolyounggam‖ (Pleasant Rural Old Man, performed by Kang Hong-Sik) and ―Nikitakio‖ (仁木他喜雄) of ―Iteriui Jeongwon‖ (Italian Garden, performed by Choi Seung-Hee), ―Neonui Paradaisu‖ (Paradise of Neon Sign, performed by Yu Jong-Sup). They were also involved in song composition, by adapting Japanese songs as ―Koga Masao‖ (古賀政男) of ―Ggotseoul‖ (Flowery Seoul, performed by Kim Hae-Song, a remake of the Japanese ―Tokyouraburapsody‖), and ―Suleun Nunmulilgga Hansumilgga‖ (Is Drinking a Tear or a Sigh, performed by Chae Gyu-Yeop, a remake of the Japanese ―Sakewa Namidaga Tameikiga‖).

Carioca,‖84 the first rumba popular song labelled as ―jazz song, performed by Kim Hae-song and Lee Nan-Young. The B-side is blues song, ―Cheonggong, which is a famous Japanese jazz song remake of ―Aosora,‖ (靑空) performed by Kim Hae-Song. Okeh Panphonic record, 1937.3. Thus, all the western-style songs were categorized as jazz song in colonial Korea by depending on Japanese selection and musical adaptation.-

Carioca, a term that also refers to the inhabitants of Rio de Janeiro, is a ballroom dance genre, mixing Samba, Maxixe, Foxtrot, Rumba and Tap. It was performed in the movie Flying Down to Rio by Ginger Rogers for the first time. Carioca as a music genre was introduced in 1933, in a song composed by Vincent Youmans and written by Edward Eluscu and Gus Kahn and introduced in the move Flying Down to Rio. ―Carioca - Wikipedia, the free encyclopedia." 4 August 2009 < http://en.wikipedia.org/wiki/Carioca_(song)>.

Thus the Japanese influence on the formation of jazz song in colonial Korea was exercised through a shared western musical knowledge and notions of westernized tunes fitting to Japanese tastes, shaped by reproducing the westernization in conjunction with technologies of recording and radio broadcasting. Considering the colonial cultural situation, these western tendencies in jazz songs and the mass infatuation to Yuhaengga were anachronistic and escapist, because popular songs represented the dislocated imagination and utopian ideals of western modernity. However, unlike the visible Japanese colonial modernization to make Korea into a staging area for militarism and imperial expansion, the invisible ―aural modernity‖ of appropriating jazz and western modalities, from fashion to manners and attitude, permeated colonial Korea as an embryonic cosmopolitanism by using various languages as follows:

―Jeonhwailgi‖ (Telephone Diary)

Written by Park Yeong-Ho, composed by Kim Song-Gyu, arranged by Nikitakio,

Performed by Park Hyang-Rim and Kim Hae-Song,

Columbia Records (1938)

Man) Moshi Moshi, Ah, Moshi Moshi Honkyou Houtasen Nanahyaku Hachijiu Yanpayo (Speaking in Japanese: Hello, hello, ah, hello hello Central Houta line 980 Yanpa)

(Man) Hello Hello, Dangshinei Jeongheesiyo? (Speaking in English & Korean: Hello, Hello, Are you Ms. Jeong hee?)

(Woman) Yes yes, what is your name? (Speaking in English)

(Man) eotjeonyeok sokdal pyeonjin bosyeotsultaejiyo (Speaking in Korean: You must have seen the last letter I sent you

(Woman) Ah! Yakgwanggonjul Jalmodalgo Bulsoshigel hetkunyo(Speaking in Korean:Ah! I thought it was a medicine advertisement, so I used it as kindling.

(Man) Jeog jeog I love you (Speaking in English: Er-r-r, I love you)

(Woman) Aigo, Mangchikhera, I don‟t know bye bye (Speaking in Korean and English: Oh my god, that‘s absurd; I don‘t know, bye bye)

(Man) Acha cha cha cha cha, eung eung eung eung jeo keunchimalayo, jo jo jo jottomatte (Speaking in Korean and Japanese: Ooops, oh oh oh Don‘t hang up, P-p-p-please wait for me)

(Chrus) keuneumyeon Nanunshireo Nanunmollayo(Speaking in Korean: I don‘t like you to hang up, I don‘t know what to do

―Jeonhwailgi‖ (Telephone Diary)

Written by Park Yeong-Ho, composed by Kim Song-Gyu, arranged by Nikitakio,

Performed by Park Hyang-Rim and Kim Hae-Song,

Columbia Records (1938)

In the early Showa era, localized Shin-min‘yō, simply called local ballad (地方小唄 Chihoukōuta), was discursively articulated as a unified notion of Japanese localism among composers and poets such as Nakayama Shinpei (figure 2-12), Hujii Shimizu and Noguchi Ujo, a form that embraced universal Japanese culture in its modern/imperialistic turn by representing specific regions (Ginza, Asakusa). Influenced by the NAPF (Nippon Proletarian Artist Federation), formed around 1928 by Japanese leftist intellectuals to counteract the western cultural influx, the KAPF (Korean Proleta Artiste Federatio) also tried to search for an ethnic genealogy of the Korean spirit and national ethos by building the trope of Daejunghwaron (Popular discourses) to neutralize anterior Japanese musical practices. The composers and lyricists who covertly projected Shinminyo as a modernizing vehicle were intelligentsia well-educated on the mainland of imperial Japan, who were not bound by tradition and were thus appropriate custodians of tradition. These modern musical reformers tried to instil local identity to colonial Koreans by defining the western as a ―true modernity,‖ differentiating it from the cultural products of imperial Japan. By re-creating ‗Shin(new)‘minyo to preserve the local values of old Minyo, Korean nationalist intellectuals believed that the Korean sentiments and national mentality inherited from the independence movement of 1919 could be revived through the narratives of Shinminyo as a new mode of building interiority by blocking diverse foreign cultural influxes, especially (and ironically) those from Imperial Japan. The characteristics of Shinminyo, with pentatonic scales derived from the traditional scales of Korean Minyo, are similar to Japanese Shin-min‘yō‘s emulation of traditional scales. The musical interpretation of Shinminyo under colonial circumstances intensified a sense of ethnic alienation, nostalgia and sense of separation resulting from colonial occupation, expressed through the repetitive use of words from traditional Minyo and Japga rhymes representing Korean onomatopoeia and mimetic phrases such as ―Eheeya Eheeya‖ (Supsai Mulbanga, performed by Sun Wooilsun), ―Dunggi Dangsil Danggi Dangsil‖ (Juritde Chima, performed by Sun Wooilsun) in song lyrics. Shinminyo was usually performed by Korean traditional female entertainers Gisaeng, such as Wang Soo-Buk, Seon Wooilsun, Yi Eun-Pa and Lee Hwa-Ja, who authenticated its ethnic locality and vernacularism to Koreans (There are also male performers of Shinminyo, such as Kim Young-Hwan, Kim Hae-Song and Choi Nam-Young.) Thus colonial audiences listening to these modernized local folksongs, which stimulated an elegiac ethos by the traditional tunes and song lyrics that transmitted powerful emotions of colonial nostalgia and an implicit collective understanding of national memories.

The simultaneity of jazz and Shinminyo as the domain of colonial modernity signalled a new set of discourses not only about the relationship between the local and the imperial or transnational but ultimately vis-à-vis ambivalent situatedness of colonial subjectivity and the formation of local popular music, as close as possible to imperial cultural mode. In the 1930s, jazz and Shinminyo, as modern ideas of popular music influenced by western compositional technique and Japanese cultural practices yet still narrating the collective sentiments of Koreans through insinuating traditional value and moral, became the central metaphor for articulating the cultural practices of colonial Koreans with the production and consumption of popular music.

Aesthetically dependent upon and motivated by western jazz songs and Japanese Shin-min‘yō, Korean jazz and Shinminyo genres cannot, however, be easily designated as merely the result of a process of homogenization and colonial capitalist transition, nor are they just an accommodation to colonial modernization by appropriating western tunes. Within the context of the colonial situation of the composers, writers and singers of Korea, jazz songs and Shinminyo interiorized colonial identity in terms of production, consumption and performance practices by building on either modern notions of westernized modernity in mobomoga or by establishing a nationalist project that mimicked imperial strategies against western cultural infiltration. "

"Korean musicians‘ conscious efforts to detach from the legacies of the Asia-Pacific War were made by appropriating various elements of niche music genres. So-called ‗exotic‘ music, including Hawaiian pop music such as ―Hawaiian Song‖ by Yeonjeonhapchangdan and ―Hawaiian Song‖ by Choi Richard (playing the banjo), was influenced by a wide range of styles, including the Japanese band Kalua kamaainas,164 and Tango and Foxtrot rhythms in songs like ―Pungchadonun Gohyang‖ (Homeland Spinning Windmill) by Kim HaeSong became popular in wartime Korea.165 Shortly after liberation, this exotic fever reached its apex after local encounters with American cultural infusions, culminating in a hugely successful Latin music genre and Cabaret Dance Craze that popularized dances like the Mambo and Cha Cha in the late 1950s.

It is imperative that scholars reconstruct how the recording, production and consumption of the Korean popular music scene were made possible through their appropriation of a wider variety of music genres as so-called ―exotic music.‖ Meanwhile, ingratiating military songs such as ―Son‘s Letter Written in Blood‖ (―Adeului Hyeoeolseo‖),166 still attempted to solidify the national ethos into a fanatic pro-Japanese militarism as part of the collective colonial identity. The appropriation of exotic music genres in the context of wartime Japanese military expansionism redefines notions of appropriation and crossover, as the ways in which the exotic musical genre was deployed did not conflict with colonial rules regarding the inclusion western elements. Thus, the reorganization of the South through colonial musicians and the audience‘s imagination of their colonial reality spuriously generalized and mimicked an imagined Southern territory, which Japan exploited. The exotic music genre was typically filtered through its Japanese turn by appropriating Western popular music. The paradoxical ‗exotic‘ music genre was trendy in colonial Korea because it allowed the consumption of an exoticized Southern territory as a substitute for the local thirst for Western culture. While military songs incessantly proliferated the ideology of Japanese expansionism, colonial Koreans were also captivated by the discourse of Nambang in their consumption of exotic popular songs with fast beats and rhythms conveying a foreign aura, playing a key role in fortifying the surplus Southern fantasy."

"Lacanian symptom/Sinthomes for the new world and the ephemeral ecstasy of emancipation were represented by various popular singers, either those who served the Japanese empire and were reluctantly mobilized to make sycophantic songs praising Japanese militarism during the Asia-Pacific War, or those diasporic popular singers who were expatriated to the foreign countries, mainly scattered in America and mainland Chinese cities such as Shanghai, Beijing and Manchuria.193 Narratives of popular music lyrics were also divided between those by repatriated popular singers from foreign countries extolling the glory of Korean liberation such as Hyun-In in ―Leoki Seoul” (Lucky Seoul, 1947) and Lee In-Gwon in ―Gwuiguksun” (Homecoming Cruise), or the local singers engaged in vaudeville shows such as as Kim Hae-song, Lee Nan-Young and Nam In-Soo, who crooned in elegiac empathy and sentimentalism for the national partition and alienation.

The cultural spectrum, from local Korean musicians who underwent the colonial experience to the repatriated diasporic singers who underwent immigration, was molded into various expressions and sentiments to cast the Korean point of view into popular songs. Many musicians organized countless vaudeville-style shows (Akgeukdan) to perform around the country, such as the K.P.K, (The band name is taken from the initials of K (Kim Hae-song, the famous singer songwriter) P (Paek Eun-Sun, leader of Egreen orchestra) K (Kim Jeong-Hwan, professor in Seoul National University), (Lee, 2003, 141),Joseon, Ramira, Taepyeongyang, Mugunghwa. As a piano based blues rhythm genre, Boogie-Woogie in particular gained enormous popularity among Koreans. After the U.S. stationing in South Korea, Korean musicians arranged their own music shows to perform on base stages for American military squads, such as Son Mok-In‘s CMC, Cho Choon-Gyeong‘s OMC, Lee Jeong-Baek‘s Hawaiian Tango band ―Gohyang Gyeongeumakdan,‖ and the Korean first full orchestra band, ―Lee Andre and Tango Orchestra‖ (Hwang 1989, Park 2009).

KPK Grand shows, Courtesy of Park Seong-Seo,

Newspaper advertisement of KPK Grand show, Kyung Hyang Daily Newspaper (1947.7.20)

Postwar Korea‘s desires for American material wealth made it more difficult to achieve a proper liquidation of Japanese colonial experiences during the post-liberation era. Indeed, Hyun-In‘s nostalgiac reminiscing about the exotic ‗southern territory‘ with a Tango rhythm is very similar in tune to Kim Hae-song‘s nihilistic popular song entitled ―Pungchadonun Gohyang‖ (Hometown where the Windmill Revolves, Columbia, 1938), which was composed in the early Total War period. In Chogwang magazine‘s special critical review of wartime Korean popular music in 1940,217 the contributors concluded that the ―Jazzified‖ (jazzuhwa) Japanese music business, influenced by western popular music, subsequently adopted serious ―Argentine Tango‖ styles and ―exotic rumba‖ rhythms during wartime, while increasing the production of military popular songs. Considering how the wartime situation gradually evolved in colonial Korea, various exotic rhythms and melodies preoccupied Korean minds as a means of imagining the tropical South of Japanese occupation territories through a sentimental Tango beat. As Said has said, an ―imaginative geography and history help the mind to intensify its own sense of itself by dramatizing the distance between what is close to it and what is far away.

The imaginary hometown in ―Gohyangmalli” suggests the placeless location where vanishing representations of the military southern specters were resuscitated as a form of loss and unlocatable yearning in the midst of postwar Korea. By recalling the colonial past in a rhythmic Tango, many musicians and composers tried to distance themselves from 179

their feelings of guilt using forms of melancholic ambivalence. As Žižek argued regarding the Freudian terms of ‗normal‘ mourning as the ―successful acceptance of loss‖ and a ―pathological‖ melancholy, ―where the subject persists in his or her narcissistic identification with the lost object,‖ (Žižek 2001) postcolonial fantasies of the South maintained an appearance of surplus fidelity to the colonial past, attached to Koreans as a kind of pure melancholy. Because colonial Koreans‘ fantasy of the southern territory (Nambang) was of a thing that they never possessed, it is thus something which can never be lost, resulting in pure melancholy. This is consistent with Žižek‘s interpretation of postcolonial-ethnic mourning and melancholy, where he argues that, ―when ethnic groups enter capitalist modernization and are under threat that their specific legacy will be swallowed up by the new global culture, they should not renounce their tradition through mourning, but retain their melancholic attachment to their lost roots,‖ (Žižek 2001:142). Koreans‘ colonial experiences were twisted through a doubly structured (cultural) modernity and a (sociopolitical/capitalist) modernization. Since the Japanese colonial structure was so deeply rooted in the formation of Korean modernity, the experience of being colonized by Japan was also linked as an object of ―lost roots‖ to post-liberation Koreans, resulting in a double loss. ...

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http://www.maniadb.com/artist/102679

평양숭실전문학교시절부터 음악적인 재능을 발휘, 기타 연주에 특기가 있었다.

초기에는 기타 연주가로, 가수로 활동하면서 작곡도 하였다.

자신이 작곡하고 자신이 부른 노래는 《청춘은 눈물인가》, 《설음의 벌판》, 《단풍제》, 《밀월의 코스》, 《풍차 도는 고향》, 《내 채찍에 내가 맞았소》, 《개고기주사》 등이다. 작곡은 본명인 김송규로 표기하였고 노래는 김해송이란 예명으로 취입하다가 1939년경부터 작곡도 김해송으로 통일시켰다.

그의 대표적인 작곡은 1937년에 장세정의 취입판인 《연락선은 떠난다》와 아내 이난영의 취입판들인 《다방의 푸른 꿈》, 《꿈꾸는 타관역》, 《이별전야》, 《무너진 황성》, 《올팡갈팡》(아내와 함께 2중창으로 취입), 아내 이난영과 처남 이봉룡이 2중창으로 취입한 《고향은 부른다》, 박향림의 취입판들인 《코스모스탄식》, 《사랑주고 병 샀소》, 《오빠는 풍각쟁이》, 《무정고백》, 《해 저문 황포강》, 백년설의 취입판들인 《고향설》, 《부모리별》, 남인수의 취입판들인 《어머님 안심하소서》, 《일자상서》, 《인생》 장세정의 취입판인 《처녀합창》, 이화자의 취입판인 《관서신부》, 김정구의 취입판인 《서생원일기》, 이인권의 취입판인 《애송이사랑》, 김영춘의 취입판인 《당신 속을 내 몰랐소》, 이은파와 자신이 2중창으로 취입한 《안달이 나요》, 《천리춘색》, 《단풍제》 등 수많은 작품들을 창작하였다.

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Translated with help of Google Translate:

Since the days of the Pyongyang Soongsil College, he has demonstrated his musical talents and specialized in playing the guitar. In the early days, he worked as a guitar player and singer.

The songs he composed and sang were ` Youth Is Tears'', ``Fall of Snow'', ``Autumn Festival'', ` Moonmoon Course'', ``Windmill Turning Home'', ``I Was Hit by My Whip'', ``Dog Meat'' and the like. The song was written under the real name, Kim Song-gyu, and the song was taken under the title of Kim Hae-song.

His representative compositions include the Jang Se-jeong's edition of ``The Call of the Sea ' and the editions of his wife, Lee Nan-young, ``The Blue Dream of a Teahouse'', ``The Dreaming Others'', ``Parting Night'', ` Collapsed Hwangseong'' and `Olpanggalfang'' ' (Brushed with wife), ``Let's Call Home'' by wife Lee Nan-young and brother-in-law Lee Bong-ryong, ``Cosmostan style'' by Park Hyang-lim, `I bought a bottle with love'', ` Brother'', ``Amorphous Confessions' ', ` Haemun Gate Huangpu River' ', ``Hometown Thesis'', ``Bori Mori Star'', the editions of Hundred Years' Snow, ` Mother's Relief '', ``Date of Letters' ', ``Life ' Prime Minister's Virgin Choir, Ewha's Influenced Edition, Official Government Bridal, Kim Jung-gu's Seosaengwon Diary, Lee In-kwon's In Love Love, and Young-chun's Influenced Edition. Lee Eun-pa and himself take duets He has created numerous works such as ` I'm Feeling Away'', ``Cheonrichun Color'', and ``Autumn Festival''

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http://encykorea.aks.ac.kr/Contents/Item/E0010985

김해송(金海松). 생애 및 활동사항

1911년 평안남도 개천에서 출생했다. 김해송은 예명이다. 여가수 이난영(李蘭影)의 남편이다. 1933년 평양 광성(光成)고등보통학교를 졸업했다. 이후 숭실(崇實)전문학교와 일본의 조치[上智]대학을 다녔다는 설이 있으나 확인되지 않는다. 1935년 오케(Okeh)레코드사에 입사, 자작곡 「항구의 서정」을 통해 가수 겸 작곡가로 활동을 시작했다. 미국의 재즈(Jazz)를 우리 말로 옮겨 부르기도 했다. 1936년 이난영과 결혼했다. 1937년 장세정(張世貞)이 불러 크게 성공한 「연락선은 떠난다」와 「잘있거라 단발령」 등을 작곡했다. 1938년 빅터(Victor)레코드사 , 콜럼비아(Columbia)레코드사를 거쳐 1939년 다시 오케레코드사로 복귀, 이후 주로 작곡가로 활동했다. 가수로 80여곡, 작곡가로 190여곡을 발표했다. 1938년 발표한 「전화일기」, 「사나이 걷는 길」 등은 '치안방해' 등의 이유로 판매금지 및 가두연주금지를 당했다.

1940년 반도애국호(半島愛國號) 자금모집 및 북지(北支) 일본군 위문을 위한 매일신보사 베이징지국 초청의 순회공연에서 조선악극단원들과 함께 베이징·텐진[天津] 등지에서 공연했다. 1942년 「강남의 나팔수」(조명암 작사, 남인수 노래) 및 조선군보도부(朝鮮軍報道部)가 내선일체(內鮮一體)와 지원병 제도 선전을 위해 제작한 영화 「그대와 나[軍と僕]」(허영 감독)의 동명 주제가인 「그대와 나」(조명암 작사, 남인수 노래)를 작곡했다. 이외에도 「총후(銃後)의 자장가」(조명암 작사, 박향림 노래), 「이천오백만 감격」(조명암 작사, 남인수·이난영 노래) 등을 작곡했다. 태평양전쟁 말기인 1944년 약초극장(若草劇場) 전속 극단인 약초가극단을 조직했으며, 같은해 12월에 조선흥행협회 주최로 '대동아전쟁 3주년 기념으로 명치좌(明治座)에서 개최된 '헌익예능대회(獻翼藝能大會)'에서 약초악극단이 공연한 「승리의 노래[勝利の歌]」의 음악을 담당했다.

해방 이후 1945년 8월에 조선문화건설중앙협의회 무대음악무용부 집행위원을 거쳐, 12월에 케이피케이(K.P.K)악단을 조직했다. 이후 「물레방아」(1946), 「천국과 지옥」(1947), 「아리랑의 노래」(1948), 「육탄 십용사」(1949), 「칼멘환상곡」(1950) 등의 대규모 뮤지컬을 케이피케이 악단을 통해 공연했다. 1947년 대중음악협회 회장 및 전국가극협회 작곡위원 등을 맡았으며, 고려레코드사를 비롯한 여러 음반사에 「흘러온 남매」(1947), 「울어라 은방울」(1948) 등을 작곡, 발표했다. 6·25 전쟁 당시 서울에 남아 있다가 납북되던 중 사망한 것으로 전한다.

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Translated as:

Gimhae Song: Life and Activities

Born in Gaecheon, South Pyongan in 1911. Gimhaesong is his stage name. He is the husband of the singer Lee Nan-young. In 1933, he graduated from Pyongyang Gwangseong High School. There is a theory that he went to Soongsil College and Jochi University in Japan, but it is not confirmed. In 1935, he joined Okeh Records and began his career as a singer and composer through his own song, "Lyrics of the Port". We even sang American Jazz in our words. In 1936 he married Lee Nan-young. In 1937, Jang Se-jung wrote and wrote, "The Contact Ship is Leaving," and "Have a Good Day". In 1938 he passed through Victor Records and Columbia Records. In 1939 he returned to Ocher Records, where he worked primarily as a composer. He has released 80 songs as a singer and 190 songs as a composer. "The Telephone Diary" and the "Man Walking Path", announced in 1938, were banned from selling and improperly playing of it on the streets were banned for reasons of "policy disturbance''

In 1940, he performed with the Chosun Orchestras in Beijing and Tianjin during a tour of the Beijing Branch of Maeil Shinbo, which raised funds for the Peninsula Patriot Lake and for the exiled North Korean Japanese troops. In 1942, the movie "You and Me"' was produced by Gangnam Trumpet (Long-am Song, Nam In-soo Song) and the Chosun Army Press Department for the propaganda system. He wrote the lyrics for "You and Me" (Lee Jeong-am, Nam In-soo). In addition, he wrote "Chonghu Lullabies" (Lee Songam, Park Hyang-lim) and "25 million Emotions" (Lee Song-am, Nam In-soo and Lee Nan-young). In 1944, at the end of the Pacific War, he organized a herbalist troupe, a troupe of the Herbal Theater, and was held in Myeongchija, held in Myeongchija, in commemoration of the third anniversary of the Great East Asian War, organized by the Chosun Boxing Association in December of the same year. He was in charge of the music of "Song of Victory" performed by the Herbal Orchestra at the Contest.

After the liberation, in August 1945, he served as executive director of the Stage Music Dance Department of the Chosun Cultural Construction Council and organized the K.P.K Orchestra in December. Afterwards, KPK played large musicals such as the Watermill (1946), Heaven and Hell (1947), The Song of Arirang (1948), The Charcoal Soldier (1949), and the Carmen Fantasia (1950). Performed through the orchestra. In 1947, he served as chairman of the Korean Music Association and a member of the National Opera Association. He also composed and published Korean-American Brothers (1947) and "Crying Silver Drops" (1948). It is said to have died while being abducted while remaining in Seoul during the Korean War.

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TRANSLATED LYRICS:

김해송 - 풍차(風車) 도는 고향(故鄕)（유행가)

열사가 몸부림 치는 아득한사람

저 사막 너머에 고향의 등불

꿈속의 사막을 넘어서 영원의 사막을 넘어서

바람 방아가 보이는 고향

꿈속의 사막을 넘어서 영원의 사막을 넘어서

낙타에 방울소리가 꿈을 흔든다

시악시 버들가는 고향의 목장

꿈속의 사막을 넘어서 영원의 사막을 넘어서

보리향기가 넘치는 고향

꿈속의 사막을 넘어서 영원의 사막을 넘어서

하루를 스치어가는 고향 그림자

포도핀 그 언덕이 눈에 밟힌다

꿈속의 사막을 넘어서 영원의 사막을 넘어서

얼룩 사슴이 풀뜯는 고향

꿈속의 사막을 넘어서 영원의 사막을 넘어서

Hometown's turning windmill

Google Translation : A distant man struggling with heat

Lantern of Hometown Beyond the Desert